Filtering by Tag: Ryan McBride

Creatively staged and powerfully performed with a perfect line-up of talent, the Writers Theatre revival of “Into the Woods” debuted Wednesday in a magnificent Gary Griffin-directed production. Stephen Sondheim’s epic musical journey to the other side of happily-ever-after of the Baker and his wife, masterfully conjoined with the familiar fairy tales of “Jack and the Beanstalk,” “Cinderella,” “Little Red Riding Hood,” and “Rapunzel” earned eight 1988 Tony Award nominations, and received three, including best original score for Sondheim, best book for James Lapine (who was also nominated for best director), and best performance for Joanna Gleason. (Lapine was nominated again as best director in 2002, in which the show won, among ten other nominations, best revival).

Griffin, musical director Matt Deitchman--who also contributed re-orchestrations--and choreographer Aubrey Adams have amassed one of the finest companies of actors and vocalists to grace a single stage in Chicago, including the commanding presence of Bethany Thomas as the Witch; stellar turns by Michael Mahler and Brianna Borger as the Baker and Baker’s Wife; a touching performance by McKinley Carter as Jack’s Mother; and the spirited return to the stage of Writers’ artistic director Michael Halberstam in the role of the Narrator.

Proving that “anything can happen in the woods,” scenic designer Scott Davis transforms the Alexandra C. and John D. Nichols Theatre into the dense forestland of “Once upon a time in a far-off kingdom” with audience on all sides, elevated stage areas and multiple access points to accommodate the robust action of the company, which is decked out in Mara Blumenfeld’s glorious costumes, as well as the onstage musicians—Charlotte Rivard-Hoster, Jeff Handley and Mike Matlock—all highlighted with Lee Fiskness’s dynamic lighting design and the giant-sized sound design by Christopher M. LaPorte.

So much about who we are and what we leave behind is wrapped up in our ability to tell our own story. The most poignant stories—often told when we believe that no one is listening—are rooted in the multi-layered parables of “Into the Woods” that have been told and re-told until the morality of the tale is indistinguishable from that of the storyteller.

At every dramatic twist and comical turn, Griffin taps into our inner aspirations and the hope we share that in the face of adversity, everything will turn out the way we planned. This show asks, “What will happen when our wishes really do come true?” and, “When there is no longer someone to help us tell our story, how do we confront and overcome the darker, challenging threats to our existence and begin again?” The answer to these profound questions lies in our understanding that we are a community of human beings who must work together to survive. And in these woods, we cannot do it alone.

Everyone needs a hero. And with the help of a rebellious newcomer, the youth of a small religious community overcome the local ordinance: No Dancing. The 1998 show “FOOTLOOSE: The Musical” with music by Tom Snow, with a few exceptions, and lyrics by Dean Pitchford is based on the 1984 hit film. One of those exceptions is the rocking Kenny Loggins title number—which opens and closes the show in exuberant fashion—with lyrics by Loggins and Pitchford. The revival that’s now born-again at the Marriott Theatre, directed by Gary Griffin and choreographed with zeal by William Carlos Angulo, showcases soaring performances of “Holding Out for a Hero,” “Let’s Hear It for the Boy,” “Almost Paradise,” and “Mama Says.” With music director Ryan T. Nelson and conductor Patti Garwood’s orchestra, you get all the right stuff in all the right places.

Being right–or righteous–drives the story that follows Ethel McCormack (Heidi Kettenring) and her son, Ren (Aidan Wharton) from Chicago to a place called Bomont—Home of the Bomont Cougars—where everyone appears to be mired in the past.

Running things from his lofty pulpit is Reverend Shaw Moore (Jim Stanek). To some, the right Reverend is wrong about his unwavering point of view. It is an opinion shared by his compassionate wife Vi (Johanna McKenzie Miller) particularly when they try to sort out how to relate to their free-spirited teenage daughter, Ariel (Lucy Godinez) to whom the ode “The Girl Gets Around” is dedicated by her lug wrench boyfriend Chuck (Ryan McBride).

With a pall hanging over the Moore family, Ariel surrounds herself with three adorable wingmen–Rusty (Monica Ramirez), Urleen (Kirsten Hodgens) and Wendy Jo (Sara Reinecke)–who are on the lookout for adventure and romance. Enter Ren, the big city kid who wants desperately to fit into his new small town life. Without a strong male influence—his dad walked out on the family back in Chicago—Ren makes mistakes and is labelled a troublemaker, which, of course, makes him immediately attractive to Ariel. It is no surprise when these two get together, but that moment between Godinez and Wharton, and the beautiful staging of “Almost Paradise,” will take your breath away.

Griffin has assembled a top-flight ensemble of newcomers and veterans alike who shine throughout. But there is much more. Chiefly, distinct generations of Chicago talent converge when Miller, Kettenring and Godinez render the beautiful ballad “Learning to Be Silent.” It must also be noted, and delightful to see, that Chicago stage icons Nancy Voigts (mother of Ms. Godinez), Meghan Murphy, James Rank, Wydetta Carter and Shea Coffman are in the tuneful mix.

The message is that we can learn from others and love conquers all, which is the impetus for Ren’s slaphappy pal Willard (Ben Barker) and Rusty (Ramirez) to finally cut loose on their own. The rest of the spirited and uplifting endgame in Marriott’s “FOOTLOOSE: The Musical,” will surely have you humming up the aisle.